You've probably come across it doing media art research on the web, as entries from the site Media Art Net/Medien Kunst Net seem to have (and justifiably so) extremely high page rankings. The project, conceived by Dieter Daniels (now of the Ludwig Boltzmann Institute Media.Art.Research ) and Rudolf Frieling (now Curator of Media Art at SFMOMA), is a curated collection of original scholarship, reprints, photos, videos and other links that has been available on the web since 2003. The easy to navigate structure allows you to search specifically by artist, author, exhibition, art work or more loosely on themes and theoretical constructs such as 'Aesthetics of the Digital,' 'Cyborg Bodies' or 'Generative Tools.' Each document is available in both English and German, is extensively cross referenced and footnoted, and contains enough links (both within and outside the site proper) to remind us of why people were originally so captivated by the potential of 'hypertext' writing years ago. The site provides numerous texts by notable scholars, including an excellent essay entitled 'Social Technologies: Deconstruction, subversion and the utopia of democratic communication' by Inke Arns (now curator at Hartware Medien Kunst Verein in Dortmund). This smart, clear, and very dense text provides a rich sense of the history of social activism and media art. Additionally, the links imbedded within the text allows one to follow their own trajectory through the works of Guy Debord, Bertolt Brecht or Valle Export (to name only a very few). As this is only one of many illuminating and relevant essays on the site, Media Art Net is truly invaluable resource for the field. - Caitlin Jones
Image: Knowbotic Research, IO_dencies, 1997
Vienna-based artist Carlos Katastrofsky examines the politics of Internet-based art production, distribution, and consumption. Katastrofsky considers how dominant practices of the artistic modus vivendi--curating, dealing, showing, and reviewing--function in the virtual realm, where the immaterial has replaced the object. Contrary to other artists, who employ different technologies in order to visually please the user, Katastrofsky's output is informed by the aesthetics of conceptual art, where the idea is emphasized. His works explore characteristic features of the Internet such as software, interfaces, language, and discussion forums- to question the current development of the Web. 'Lastwishes,' commissioned by Lisbon's LX.20, is the latest of Katastrofsky's pieces. It consists of a mailing list that, through the modification of the software 'mailman,' allows only one post per member. As Katastrofsky describes it, 'this list lets you subscribe and receive messages as usual, but you can post only once. After posting you will be immediately unsubscribed. The topics are completely open.' As LX.20's curator Luis Silva comments, 'one can listen but only talk once sending a message thus requires meaningful content; chatting becomes impossible'. As such, it is a poignant critique of the communication process in a media-saturated age. - Miguel Amado
Year Zero One is pleased to present pixelgrain - a web project by artists Michael Alstad + Leah Lazariuk. pixelgrain is an online repository of documents and ideas linked to the fading symbol of the Canadian prairie grain elevator. By systematically documenting and mapping these disappearing structures, and interviewing people associated with them, the artists portray a parallel rural community in the midst of transition. pixelgrain also functions as a web portal that utilises Geographic Information Systems and thematic online networks to create a participatory collaborative document that will evolve and grow over time.
Originally posted on Rhizome.org Raw by Rhizome
A image created by/for anti-DMCA (etc.) activists that contains RGB values forming the forbidden number of the HD-DVD/Blu-Ray encryption key, but saved in JPG format which causes a one-bit error in several of the bytes.
Originally posted on nasty nets by Rhizome
Location One is happy to present new work by two artists, Katia Kameli and Kuba Kaowski, participating in the International Residency Program.
With "Draft", Katia Kameli continues her investigation into key issues that drive her film, video and installation practice, namely the construction of intersecting identities in a globalized world, hybridization, the notion of intercultural spaces and awareness of psychogeographical effects...
Kuba Bakowski's quasi bio-mechanical body of work examines the duality between real and artificial as generated by digital media, with an approach that is in part utopian and ironic, often tinged with a perverse sense of humor. For this exhibition, the artist creates “video machines” which produce distinctive audio-visual energy and that he groups under the title Nothing More Happens Than Has To Happen...
Originally posted on ArtCal Openings by Rhizome
"Television delivers people to an advertiser." So begins Richard Serra's infamous 1973 video of scrolling text and cheery Musak, "Television Delivers People." A denouncement of commercial television as an insidious and propagandistic tool of the state, the title and theme of Serra's famous tape areborrowed and expanded upon in an exhibition opening this week at the Whitney Museum of American Art. In an age when the video installation has primacy over the single-channel image, this group show reflects on early video's relationship to television and how that association has developed since the seventies. Artists include Alex Bag, Keren Cytter , Kalup Linzy , Ryan Trecartin , Michael Smith, Dara Birnbaum, Joan Braderman, of course Richard Serra, all of whom extend Serra's original critique through appropriation, and deconstruction of narrative and genre. While Serra's condemnation of the medium frames the exhibition in somewhat negative terms, the artists chosen by curator Gary Carrion-Murayari provide a more nuanced reflection on the mutable role and potential of television (and the internet) in contemporary culture. - Caitlin Jones
Image: Richard Serra, Television Delivers People, 1973.
La Mano Izquierda, translated as "The Left Hand", is a new art piece by conceptual video and new media artist Oliver Laric.
Visit http://www.oliverlaric.com/ for examples of his other work
Originally posted on del.icio.us/cecimoss by cecimoss
From WiFi to Bluetooth, the last decade has become a race to colonize and occupy various radio waves in the hopes of making our lives ever more convenient. In dense metropolitan centers especially, there is an invisible electromagnetic world seething not unlike a vast wilderness of unknown animals and plant life. Merging botany, zoology, and technology, Norweigen artist Ingeborg Marie Dehs envisions fictional species for six different forms of radio waves based on their scientific and technical properties and usage in his charming project, The Bubbles of Radio. The concept developed within the course Tangible Interactions at the AHO school in Norway, in conjunction with Touch , "a research project that investigates Near Field Communication (NFC), a technology that enables connections between mobile phones and physical things". Each radio wave species is drawn in a style evoking the futurism of classic science fiction and the whimsy of Hans Christian Anderson fairytales. Fittingly, Ingeborg also hand crafted a pocket field-guide of the illustrations, that evidently even smells like "an age-old guide to flora and fauna," as well as a downloadable poster. While each depiction is technically informed, the greater purpose is to make visible a phenomenon normally relegated to our other senses. It is a stunning and imaginative reminder of the unseen man-made ecosystem that we inhabit and navigate daily. - David Michael Perezhttp://nearfield.org
woah, totally amazing work by dutch artist harm van den dorpel. these are stills from found photo animations. be sure to watch the full animations of these here, here, here, and here. and peek at all the other interesting stuff harm is up to right here.
[all harm van den dorpel. 2007. top (left to right): still from resurrection 2. still from sleepwalker 3. bottom (left to right): still from sleepwalker 1. still from resurrection 1.]
Originally posted on i heart photograph by Rhizome
Alex Galloway, in both his art and writing, seems to have made it his mission to expose the cracks in contemporary computer culture. Well-known for hacking his way into games to expose their bugs or glitches, Galloway is also a founding member of the Radical Software Group who, among other projects, produced 'Carnivore' a data surveillance tool that transforms internet traffic into visual art. In addition to his artistic production Galloway's writing has increasingly concerned itself with the fault lines that underlie the base structures of both computer operating systems and networks. In The Exploit: A Theory of Networks (2007), Galloway and coauthor Eugene Thacker explore the political and social implications of these cracks, or what hackers refer to as 'exploits.' In a recent interview with Pau Alsina, Galloway expands on the book's themes, notably the oft deliberated issues of knowledge and power that circumscribe networks. The interview provides some notable quotes: providing a counterpoint to utopian views of the Web 2.0, Galloway posits that 'the web is, in essence, the world's largest sweat shop,' and he describes game art and modifications (that he acknowledges he himself makes) as 'convulsions of formal introspection.' Building upon his previous books, Protocol: How Control Exists After Decentralization (2004) and Gaming: Essays on Algorithmic Culture (2006), The Exploit crystallizes Galloway's interest in digging into the very structures upon which new media art and, increasingly, broader culture is based, and the interview with Alsina should excite readers to take it on. - Caitlin Jones